A PEEP AT THE PRI NT• SHOPS.
ENGRAViNcs from two early pictures by Wizatir, and two or three pot traits, are the prinripal additions to the attractions of the print- shops this week, in the shape of novelties—to which our attention is necessarily confined.
The Village Riernils, a romraoion to the Village Palititians. is one
of those truthful delineathms rustic character on which Wil,K1CS fame will ultimately test ; for there- his genius is in its kindred element. A sergeant, in company ‘N WI a raw reernit who has arrived at the dignity of a &clock and feather, is v.7aiting in a hedge alehouse while a newly-made "king's " is spending his ituunty. money in drowning reflection. A sardonic ker lurks on the heavy features of the old soldier, as Ile stands leaning, on Ilia musket, looking down on the tustie sots seated round the table, with a contemptuous indifference : he has evidently engaged the attention of one of the party, who is asking him questions-, and whose looks are keenly scrutinized by a shrewd old Scot opposite, leaning with folded arms on time table. A stolid old fellow is gapieg with bewilderment, as if the glimmering of perception was too much fOr lls owl 15)1 intellects; and a cynic, smok- ing in the chimney-corner, eyes the group to-kanec with a look of mis- trustful dislike. The vacant gaze of the older recruit is matched by the lumpish look of tile lout just iblisted, who seems both sloven and drunkard, and sits on the table, nmug in band, whistling with affected unconcern ; while the landlord is tugging at a tight colic as if his sinews would crack or a blood-vessel burst.
The ludicrous; contortions of the hard-featured "drawer," the deliberate attention and knowing air of the canny Scot, and the ob- servant experience of the scrgeant, are depicted with consummate skill and delicacy in the original ; which is one of WILKIE'S most finished pictures, though the colour is rather faded. The faces in the print are not of course so full of character, so living, and intense in expression, as in the picture ; but the engraving, though a rough-hewn copy, is faithful in its general resemblance and the material details ; and bears, as well as most will do, that severest test a comparison with the painting. The local colour, the pervading tone of the picture, the whole pictorial effect in short, is well preserved ; and altogether it is an excellent line engraving, anti deserves to rank with the series of plates from WILKiE. CilAttLLS FoX is the engraver.
The Card-Players is in mezzotint by CHARLES LEWIS, but it is wrought over with the graver with great pains. Tile glee of the holder of the winning hand, who is showing it exultingly to a sagacious coal- heaver looking over his chair, and the triumphant chuckle of the land- lord who is pointing to the trick—the lmig face of one of the losing side, and the perplexity of the other, who is scratching his bead in doubt what to do—are depicted with the most animated reality : the indifference of the woman looking on makes the interest of the players seem the stronger ; while the profound gravity of the coalheaver im- plies a weighty stake, in which he of the fan-tailed beaver is doubtless concerned.
The engraving, though executed with laborious care, has neither the variety of colour nor of texture, nor the tone of' the painting: it is cold, black, and monotonous; all the objects seem thin in substance, and of one surface. It is a pity the plate was not engraved in hoe: the subject would have kept, and will always be atti active—notwithstanding the heads are too big for the bodies, and mine host's butt of a carcase looks as if it had crushed the thigh of one leg.
LINSLI.L's portrait of Sir Robert Peel, a mezzotint by the painter himself', is an unflattering and animated likeness of the Conservative leader of the Commons. The astute and wily character of the expe- diency statesman, may be read in the puckered and compressed lips-arid the wary eye looking out at one corner—an habitual trait in his phy- biognomy—as if watching to evade a fixed principle, or to detects weak point in his adversary's case it is the face of a craftsman in policy, the cautious leader of a party, clever in affairs—not that of a great states- man fit to guide the destinies of a free people. This is true portraiture: the skilful fiatteter Lawer.Nes masked the
truth with handsome features and a supercilious air of assumption, such as would delight the vanity of some smart haberdasher, but could hardly deceive even superficial observers. The real character will peep out through all disguises ; bow much better, then, boldly to depict it. The physiognomy of the worst and meanest of mankind commands attention, if not respect, when faithfully limned ; for the intellect, the noblest part of man, is then brought out. This is the secret of the formidable power of TITIAN'S and Muatrr.o's portraits; their art revealed the mind in the face : that of most modern limners consists in omitting the intellectual part, and glossing over physical defects with the varnish of a smug or smirking smoothness.
PHILLIPS'S portraits of the Bishop of Lichfield and Mr. Spottiswoode, however, are not included in this category. That lucky monopolist, "the Queen's Printer," who puts himself forward as champion of the Protestant ascendancy, is a commonplace consequential person ; and his portrait can only be interesting to the Orange factionists. The mild and benevolent countenance of Dr. Butler befits the office of a Chris- tian Bishop ; and his bland and calm expression betoki ns unaffected good sense and liberal feelings, and a mind enriched and enlarged by learning. Pitman has appropriately adopted the breadth of manner of RAEBURN, softening the lights and shadows of the face to harmonize with the genial character of the head. The mezzotint is by SAMUEL COUSINS: we need say no more than that it is worthy of his reputation.
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